Nora Grey can’t remember the past five months of her life. After the initial shock of waking up in a cemetery and being told that she has been inexplicably missing for weeks, she tries to get her life back on track. So she goes to school, hangs with her best friend, Vee, and dodges her mom’s creepy new boyfriend.
But there is this voice in the back of her head, an idea that she can almost reach out and touch. Visions of angel wings and unearthly creatures that have nothing to do with the life she knows. And an unshakable feeling that a part of her is missing.
Then Nora crosses paths with a sexy stranger, with whom she feels a mesmerizing connection. He seems to hold all the answers...and her heart. Every minute she spends with him feels more and more intense until she realizes she could be falling in love. Again.
This paperback edition features exclusive bonus content and enticingly sets the stage for the series conclusion, Finale.
Attacked and abducted in her home territory, Mercy finds herself in the clutches of the most powerful vampire in the world, taken as a weapon to use against alpha werewolf Adam and the ruler of the Tri-Cities vampires. In coyote form, Mercy escapes—only to find herself without money, without clothing, and alone in the heart of Europe...
Unable to contact Adam and the rest of the pack, Mercy has allies to find and enemies to fight, and she needs to figure out which is which. Ancient powers stir, and Mercy must be her agile best to avoid causing a war between vampires and werewolves, and between werewolves and werewolves. And in the heart of the ancient city of Prague, old ghosts rise...
What safer haven could there be than a Quaker boarding school in a tiny New England coastal village? What secrets lie beneath its serene and quiet beauty?
Out of the blue, the campus is laid open, the peace of Old Harbor Friends shattered by the murder of lascivious, comptroller, Milt Wickie. Wickie is discovered in his office, a scrimshaw knife protruding from his chest, a knife belonging to beloved teacher and grieving widow, Bess Dore.
Initially a suspect, the forty-two year old, Bess is soon exonerated and jumps headlong into a murder investigation along with old flame, police detective, Roger Demaris, and Harry Winthrop, an amateur sleuth, prolific writer, and the son of the school’s wealthiest patron.
Will Bess find romance along the way, giving her heart to the gruff police officer, who still adores her, or to the fly-by-night, but charming Harry who is clearly smitten? Will the killer strike again? Will the silence and calm of the 200-year old Friends school ever again be restored?
Silence is the indispensable doorway to the divine, explains the cardinal in this profound conversation with Nicolas Diat. Within the hushed and hallowed walls of the La Grande Chartreux, the famous Carthusian monastery in the French Alps, Cardinal Sarah addresses the following questions: Can those who do not know silence ever attain truth, beauty, or love? Do not wisdom, artistic vision, and devotion spring from silence, where the voice of God is heard in the depths of the human heart?
After the international success of God or Nothing, Cardinal Sarah seeks to restore to silence its place of honor and importance. "Silence is more important than any other human work," he says, "for it expresses God. The true revolution comes from silence; it leads us toward God and others so as to place ourselves humbly and generously at their service."
Handsome, young, Muslim, and married to two women living in one house along with his mother, Umma, and sister, Naja: can Midnight manage all that he has on his plate? He is surrounded by Americans who don’t share or understand his faith or culture, and adults who are offended by his maturity, intelligence, and his natural ability to make his hard work turn into real money. He is calm, confident, and cool, Ninja-trained and powerful, but one moment of rage throws this Brooklyn youth into a dark world of dirty police, gangs, guns, drugs, prisons, and dangerous inmates. Everything he ever believed, every dollar he ever earned, and all of the women he ever loved—including his mother—are at risk.
Will his manhood be taken, broken, or altered? Can he maintain his faith? Outnumbered, overruled, and deeply envied—how can he possibly survive? Will the streets convert him? What can he keep? What must he lose?
The Slabaugh family are model Amish farmers, prosperous and hardworking, with four children and a happy extended family. When the parents and an uncle are found dead in their barn, it appears to be a gruesome accident: methane gas asphyxiation caused by a poorly ventilated cesspit. But in the course of a routine autopsy, the coroner discovers that one of the victims suffered a head wound before death—clearly, foul play was involved. But who would want to make orphans of the Slabaughs' children? And is this murder somehow related to a recent string of shocking hate crimes against the Amish?
Having grown up Amish, Kate is determined to bring the killer to justice. Because the other series of attacks are designated hate crimes, the state sends in agent John Tomasetti, with whom Kate has a long and complex relationship. Together, they search for the link between the crimes—and uncover a dark secret at work beneath the placid surface of this idyllic Amish community.
Chock full of twists and chills and set against the unusual world of the Amish, this series "will delight fans of Chelsea Cain and Thomas Harris" (USA Today).
The Plank family moved from Lancaster, Pennsylvania, to join the small Amish community of Painters Mill less than a year ago and seemed the model of the Plain Life—until on a cold October night, the entire family of seven was found slaughtered on their farm. Police Chief Kate Burkholder and her small force have few clues, no motive, and no suspect. Formerly Amish herself, Kate is no stranger to the secrets the Amish keep from the English—and each other—but this crime is horribly out of the ordinary.
State agent John Tomasetti arrives on the scene to assist. He and Kate worked together on a previous case during which they began a volatile relationship. They soon realize the disturbing details of this case will test their emotional limits and force them to face demons from their own troubled pasts—and for Kate, a personal connection that is particularly hard to bear.
When she discovers a diary that belonged to one of the teenaged daughters, Kate is shocked to learn the girl kept some very dark secrets and may have been living a lurid double life. Who is the charismatic stranger who stole the young Amish girl's heart? Could the brother—a man with a violent past, rejected and shunned by his family and the Amish community, have come to seek out revenge? As Kate's outrage grows so does her resolve to find the killer and bring him to justice—even if it means putting herself in the line of fire.
Topping her own bestselling debut, Linda Castillo once again immerses us in the world of the Amish with a chilling story that is both a fast-paced thriller and intriguing psychological puzzle.
When the familiar and seemingly safe turns lethal, therein danger lies. Amid a forest where the shades of the dead linger all around, every homesteader knows to follow the Simple Rules: “Don’t kindle flame, don’t shed the blood of another, don't run at night. These things draw shades.” Silence Montane has broken all three rules on more than one occasion. And to protect her family from a murderous gang with high bounties on their heads, Silence will break every rule again, at the risk of becoming a shade herself.
The music is characterized by melancholy, experimental sounds and vocal arrangements as well as meticulous production. The band is also known to incorporate various live instruments in their recordings, such as the piano, violin, viola, double bass, cello, valiha and other. The duo is recognized for their vast involvement in music writing for contemporary plays in Slovenian theater. Usually they will tour with the cast, or even be part of it, and perform the music live.
"Musicians from the End of the World", directed by Haidy Kancler and produced by RTV Slovenia, is a 30-minute film which candidly documents the lives and two-decade long career of Silence. It also follows the band on their testing journey to producing their first studio album release in 8 years.
“The idea was to leave when we were at our peak, which we were, and to come back when we felt reinvigorated,” asserts Draiman. “Everything was strategic. We wanted to give ourselves a chance to breathe, give the fans a chance to breathe, and give the culture a chance to evolve. Now is the time. The environment feels ready. The musical landscape feels ready. We’re ready.”
“We had basically been going nonstop since 1998,” says Wengren. “We got to do our things. It didn’t take too long until the itch started coming back.”
“We wanted to return when we collectively had that fire underneath us,” agrees Donegan. “We missed it so much that we could tap into this energy and deliver the right album. We did it on our own terms.”
That album, Immortalized [Reprise], initially became the best-kept secret of the group’s career. In 2013, Draiman released a top 15 record with Device’s self-titled debut, while Donegan and Wengren launched Fight or Flight with A Life By Design? Following the success of both, Draiman and Donegan decided to have dinner back in their hometown of Chicago during January 2014. Without notifying their families, friends, or label, that’s the moment they stirred the sleeping beast. However, instead of simply emailing ideas, they actually flew back and forth to each other’s respective home studios for every writing session. This is the first time they collectively wrote together since 2001.
“When the band formed, we all lived in the same city,” recalls Mike. “So, when we wrote, we would all be in the same room together. We had gotten away from that because we don’t live in the same states. There’s definitely something to be said about that chemistry and interaction when we’re together feeding off each other. We pushed ourselves to rekindle that.”
“We wanted to go back to where it started before the technology existed where you could create from across the country,” David remarks. “We were in the same space again, throwing ideas back and forth on the fly and allowing them to grow immediately. For this album, everything was written in the same room. It was wonderful experiencing how it used to be back in the day for us. That became apparent in the material, whether it was the passion of the performance, the power being harnessed, or the feelings evoked. We could feel the difference.”
In order to capture that “difference” on tape, they headed to Hideout Recordings in Las Vegas to work with producer Kevin Churko [Ozzy Osbourne, Five Finger Death Punch]. It marked their first collaboration together, and Churko pushed the musicians to expand their signature style.
“We agreed it was time to start trusting an outside ear and see if somebody could get something out of us that we hadn’t done ourselves,” Donegan continues. “The goal was to find a producer we felt creatively comfortable with, but who could challenge us and spark a new evolution. Churko did that. We had chemistry together right out of the gate. We were prepared to change things.”
In June 2015, the group revealed themselves creatively with a big bang, their first new single “The Vengeful One.” Disturbed was officially back. “The Vengeful One” served as the perfect clarion call for this next chapter. Beginning with a bombastic drum beat and jarring riff, it bares its teeth with an unabashedly metal refrain that’s instantly unshakable.
“Basically, ‘The Vengeful One’ is the personification of The Destroyer, the Angel of Death, Gabriel, or the Hand of God looking over humanity,” explains Draiman. “In the song, it’s the End of Days. Things are getting worse, and we’re becoming more destructive. The media is playing everyone against one another and baiting the entire world. It’s judgment day. This is that entity’s voice speaking and passing judgment.”
“I wanted to lay down a big spacious beat to give the guys room to play,” Wengren goes on. “It’s something slightly different for us, but it’s got that signature syncopation we love.”
“Musically, it’s got that old school metal sound,” smiles Donegan. “It’s definitely Disturbed!”
The instrumental opener “The Eye of the Storm” bleeds into the infectious and incendiary title track bolstered by deft rhythms and scorching leads. In the middle of this roller coaster, “The Light” tempers a haunting keyboard and robust guitars with a towering vocal.
“The message for ‘The Light’ is one of positivity,” admits Draiman. “Most people are quite apprehensive about the “dark” periods, and experiences of their lives. However, sometimes those dark periods of time are a necessary path we must take in order to finally see, “the light” so to speak.”
Following a tradition of outside-the-box covers, Disturbed tackled Simon & Garfunkel’s classic “The Sound of Silence” for Immortalized. Rather than amplifying it, they went the other direction, tapping into Draiman’s classical training and Donegan’s knack for arrangement. With an orchestral expanse, acoustic leads, and chilling delivery, it’s unlike anything in the group’s catalog.
“We didn’t want to cover up David’s vocal with loud, aggressive, and distorted guitars,” says Donegan. “We wanted to showcase his vulnerability and take a leftfield approach. The strings and violins really deepen it. It’s something that might shock people because we went down a new path altogether. We did what felt right and saw the vision through.”
Disturbed have made good on every promise since their genesis. Their quadruple-platinum 2000 debut, The Sickness, formally announced their arrival as hard rock leaders. Throughout their career, they received a Grammy Award nomination in the category of “Best Hard Rock Performance” for “Inside the Fire” in 2009 and churned out nine No. 1 singles at Active Rock Radio, while eventually selling over 12 million records globally. However, Immortalized will live up to its title and fortify their legacy further.
“I think the fans will feel like it was worth the wait,” concludes Donegan. “We’ve been planning this for the past year and keeping it a secret so we can’t wait to hear the response. I hope fans realize we have a lot more left in us. This album reassured me of that. To be away from it for almost 5 years, get back in a room, write together, and tap into that fire is awesome. Part of me didn’t want to leave the studio! We still have a lot more to say. We still have a lot more to do. We’re returning stronger than ever. I think Immortalized shows that.”
“I can’t wait for everybody to hear it,” states Wengren. “We’ve had so many fans asking that I hope the response is, ‘This is exactly what we’ve been waiting for!’
Draiman leaves off, “I just want people to walk away feeling powerful. That’s it. That’s what we wrote this record to do.” – Rick Florino, May 2015
With anticipation for their third full-length after the release of No Time to Bleed, Suicide Silence prepared recording for The Black Crown on a course of several months starting from the beginning of 2010 with writing ideas and plans before their arrival to the studio for recording in 2011. The album was produced by Steve Evetts.